Fanbase Press' coverage of the 2020 Will Eisner Comic Industry Awards continues with the "Countdown to the Eisners" series. From June 22 through July 14, 2020, Fanbase Press will highlight each of the Eisner Awards' 31 nomination categories, providing comic book industry members and readers alike the opportunity to learn more about the nominees and their work. Stay tuned for Fanbase Press' continued coverage of the Eisner Awards, including live coverage of the ceremony at San Diego Comic-Con in July 2020.
Given the positive impact of the Eisner Awards, their importance to the comic book industry, and Fanbase Press' own mission to “Celebrate Fandoms,” today marks the launch of Fanbase Press’ annual "Countdown to the Eisners" series. With "Countdown to the Eisners," we will highlight each of the Eisner Awards' 31 nomination categories, providing comic book industry members and readers alike the opportunity to learn more about the nominees and their work.
End of the road. Last episode of the season. Yes, there will be a season four, but it is as likely to be radically different from season three as season three was from season two, not the least of which because Dolores is now gone. Sorry – should have started by telling you, “Spoiler alert.” But if you’re here reading this, I have to believe you have seen the episode.
In thinking about the paths that our heroes take in the Star Wars saga - for the original trilogy, that of Luke Skywalker, and for the most recent trilogy, the tale of Rey (now Skywalker) - my mind is awash with questions and conflicts. As a child, seeing Luke turn Vader in the end was a heroic action. He fought against the dark side of the Force to save his father from a death that would have disconnected him with all living things.
Westworld just has the most evocative, meaningful titles. I fancy myself an educated, erudite fanboy/total geek. But when I googled the title of this week’s episode to ensure I knew what I was talking about, I went down a ninety-five minute rabbit hole because all the connections became so interesting. It’s not the first time that’s happened. (Mind you, it happens a lot anyway with us writer types – I go to look up if a certain kind of wagon was made in the 1880s and two hours later, I’m pouring over early twentieth century Italian crop yields, because research, right?)
Since the late 1970s, the Alien franchise has terrified audiences with its iconic and nightmarish extra-terrestrial creatures, but, since that very first film, a far more insidious horror has always been present throughout the series. While it's easy to understand why the xenomorph and its blood-chilling life cycle have always stood out as the defining fiend of the franchise, there is no argument that Weyland-Yutani (often referred to simply as "The Company" in a sign of their monolithic absolute dominance over human society) is the true monstrous presence throughout the film series, most notably when it comes to the first three entries and the story of Ellen Ripley (portrayed by Sigourney Weaver).
The first images that come to mind when I think of H.R. Giger aren’t necessarily of the Xenomorph. The first images are of human frames (mostly female) meshed with robots and alien lifeforms, penetrating each other in all sort of ways. Giger’s Biomechanics is haunting, beautiful, and terrifying. Thanks to the popularity of the Alien series, these images are scrawled into my brain.